Honors English
30 October 2010
Steinbeck’s California
Imagine the journey Steinbeck took, starting in the Salinas Valley, California in nineteen hundred and two (Benton 149). He then traveled California and found many inspirations for his characters. A bold, adventurous life he then pursued as a writer. The inspirations he found ranged from locations that inspired characters, people that inspired characters, and the time period that inspired the story lines that Steinbeck is acclaimed for. His journeys took him through many marvelous parts of California, later landing him in the Montery Peninsula the home of Cannery Row (Dickstein 111).
The characters in Steinbeck’s book relate to significant locations Steinbeck experienced while in California. Visiting California would be like visiting the characters from his novels (Griesback 151). Once inside the art of his novels the character structures fold out revealing themselves as what Steinbeck saw in California (Gaither 56). It is as if the land its self manifests inside of Steinbeck’s words. The nature of California became an escape for Steinbeck (Dickstein 114). Being inside the protective shell Steinbeck could forget about the alleged world that he so despised, and focus on the extent of his character’s emotional relevance to men and relate them to the outside world that is California (Dickstein 119).
When Steinbeck first experienced California he undertook it as a lush garden full of wonder, but when Steinbeck experienced the Great Depression in the nineteen thirties California died to him (Dickstein 117). The California haven that shielded him from the outside world he distrusted was removed, and he then was forced to think of the terrible consequences of the depression happening right outside his own mind. Steinbeck’s experiences throughout this time period, however, did not completely ruin his outstanding ideals of the land. It inspired new concepts and characters in his writing. Steinbeck has his own way of taking his surrounds and putting them into print. Thus incurred throughout his life and it was uniquely put into his own story lines. The experiences he gathered and wrote about won him the Nobel Prize in nineteen hundred and sixty-two (“Steinbeck” 1). Although it has been debated about of whether his award was deserved or not, the controversy being over whether or not the depression age was exaggerated in his works, he did recount the events of the thirties through his works of “fiction.” This account helps people of the modern day remember or learn how the depression period of America was and could yet again be.
In addition to the places in California that inspired Steinbeck’s writing the people of California are more or less the base from which he stems his characters. Such an example is that of Gay, Mack, and the Palace Flophouse, these ideas are based from Cannery Row and from Gabe Bicknell. Steinbeck lived with Gabe Bicknell and his family in the nineteen thirties. Bicknell was incorporated into the characters of Gay and Mack along with the inspiration for the other boys. On the Row Steinbeck found ideas that inspired Cannery Row and Sweet Thursday (Lundy 60).
Almost exactly, word for word, the description of the Palace Flophouse matches, what used to be, a real place. The lot is denoted to be “directly across from the Laboratory” which it is in actual life (Lundy 62). It is obvious that real people and places from Steinbeck’s life in California are visible, contrary to Steinbeck’s quote on Cannery Row “The people, places and events in this book are, of course, fictions and fabrications.” Steinbeck’s fictional places and people appear to be quite real. Later Steinbeck issued the quote, “The book is only fiction in form and style (qud. in Lundy 15).” Looking back on the real Cannery Row in the nineteen thirties, it is hard to depict whether either of these quotes are completely true.
Perhaps the easiest way to justify John Steinbeck’s claim to fiction is to take into account that he traveled. Throughout his journeys he ran into many an inspiring character. Relating that the plot is fictional may be the only found realism conceived later in his works. For it can obviously be seen that California and its people played a major role in Steinbeck’s literary works.
As have the people and places influenced Steinbeck, the attraction of California’s great cost has been a huge influence on him. Steinbeck worked with Ed Ricketts, who later appeared as the character Doc in his Cannery Row, to discover a much more scientific undulating of the ocean creatures (Lundy 36). Their work together lead to many of the marine excerpts in Steinbeck’s books. Such an example would be of the long, detailed section of the sea turtle. One such reference of how the scientific studies of Steinbeck and Ed Ricketts was how Doc seemed to know of all the creatures of the seas. He knew the tide patterns, and he had a quest for knowledge to answer all of the unasked questions of the world. In this manor it can be related that much of Steinbeck’s work is taken from his environment (Beegel 27).
Ranging from the great depth of the sea, to the dusty roads, and to the people John Steinbeck met in his adventures through out, it is apparent that California was one of the greatest influences of his life. Without Steinbeck having been born in California it is quite questionable if Grapes of Wrath, Cannery Row, or Sweet Thursday would exist today. The Cannery Row that he lived on for an amounted time seems to be the meat and bones of some of his works. In that fashion Ed Ricketts, later the character Doc, had a huge impact on John Steinbeck (Beegel 32). The vast enormity that is California had the most impact on Steinbeck. Its people, places, events, and time period are prevalent throughout Steinbeck’s works.
Works Cited
Beegel, Susan F. Steinbeck and the Environment. Tuscaloosa and London: University of Alabama, 1997. Print.
Benton, Robert M. "Beyond Boundaries: Rereading John Steinbeck (review)." Rice Library-Login. Oct.-Nov. 2004. Retrieved.. 30 Oct. 2010.
Coleman, Annie. “Watching the Tides.” Rice Library-Login. Mar. 2010. Retrieved. 30 Oct. 2010.
Dickstein, Morris. "Steinbeck and the Great Depression." Rice Library-Login. Nov.-Dec. 2004. Retrieved. 30 Oct. 2010.
Gaither, Gloria. "John Steinbeck: The Postmodern Mind in the Modern Age." Rice Library-Login. Mar.-Apr. 2006. Retrieved. 30 Oct. 2010.
Griesbach, Daniel. "A Journey into Steinbeck's California (review)." Rice Library-Login. Oct.-Nov. 2006. Retrieved. 30 Oct. 2010.
Haslam, Gerald W. "The Steinbeck Centennial Year, 2002 -- Reflections and Highlights." Rice Library-Login. Mar.-Apr. 2004. Retrieved. 30 Oct. 2010.
Lundy, A. L. Real Life on Cannery Row: Real People, Places and Events That Inspired John Steinbeck. Santa Monica, CA: Angel City, 2008. Print.
“John Ernst Steinbeck.” Encyclopedia of World Biography. Detroit: Gale, 1998. Gale Biography in Context. Retrieved. 8 Nov. 2010.
Wednesday, February 16, 2011
Comradeship: Friends or Deeply Rooted Feelings?
Honors English
29 October 2010
Comradeship: Friends or Deeply Rooted Feelings?
To have, to hold, to love, and to live whichever your fancy the comradeship in John Steinbeck’s Cannery Row is stemmed from the love of others. Many displays of affection are revealed through the relationships of Cannery Row. A few examples of these relationships would be of Doc to the boys along with the boys in and of themselves. Such an expression of friendliness would generally be considered great. Along with an expected commodity in a small town of the yesteryears, but it could be perceived that the boys of Cannery Row were homosexuals. Determining the relationships of the boys of the Palace Flophouse asks if their “sweetness of comradeship” comes from idealistic acquaintanceship or a deeper sense of belonging to one another (Person 7).
Steinbeck hints at his ideal relationships between the boys many times through out the story, a specific even of this is when the boys are frog hunting. The man’s house that they come to is vacant of a woman’s touch. The boys are much relieved of this aspect. They aren’t forced to use their manors, to wash, or to go to bed early (Person 8). Their ideals suggest that they might be better off without women. While they live on their own, without the hardships of supporting someone who seems less capable than themselves, they seem the most content. Comparing the modern businessman to the boys of the Palace Flophouse the boys appear to be much happier. They do not spend their days chasing after money, in fact, they spend their time avoiding work and enjoying each others company (Levant 171). The boys spend so much time together that they have developed a strong bond like a family or like lovers. This idea suggests at queer relations between them. The idea of gay relationships in the era of Steinbeck’s writing was taboo. Hence the non-direct mentions of the boys relationships. Their improper behaviors may suggest this sentiment.
The “bad boys” of Cannery Row can be found in society today (Lisca 154). The bums, the scum of the Earth, or leaches, call them what you will, these wretches are sometimes the happiest inhibits on this planet. They haven’t a care in the world, especially towards those trying to judge them. As for comradeship, they have each other. In the world of today, having a group of friends that can be counted upon stands for much more than a successful life. The Boys of the Palace Flophouse are certainly a happy go lucky bunch of men. Their happiness may go as far as to suggest relationships within the group of boys.
Homosexual or heterosexual relationships are not a conceived notion through out the book, but their sexual orientation could be either way. The boys don’t have too many women in their life, aside from the married man of the group escaping his wife. If they are having sexual relationships with one another, it would stand to reason. When a large group of friends stays together for an amounted period of time, certain bonds form between them. The bonds could be that of homosexual relationships or they could be that of brotherhood. Either way Steinbeck uses “alternative social relationships” to express equality and an extreme form of comradeship through out many relationships in his book (Person 10).
Another notable relationship in the book is Doc’s relationships. Doc exhibits an extreme caring, a compassion, for all the occupants of Cannery Row. The comradeship of Doc is readily seen in his surrounds. He has the perfect place to host parties, and he often does. Many people come to his parties showing that he is well liked. The phrase “we should do something nice for Doc” is repeated often in the book, especially from the Flophouse boys. Finally the boys throw a party to show their appreciation for Doc. In the process they unintentionally wreck his house. Doc is upset, but he knew the boys only had good intentions. In this manor the boys are forgiven, and Doc takes up his roll in their friendship again exuding the human’s compassion for those that are on good terms with one another. The happiness and good times continue later in the book, when the boys host Doc a birthday party that is well prepared for on Doc’s part (Mullaney 43). The sneaky preplanning, by Doc, results in a wealthy exchange of comradeship. The Doctor’s house remains in one piece showing that sometimes a little extra must be put in by one party to have a positive effect on the whole group.
Although Doc has more female friends than the boys from the Palace Flophouse, he lives mainly alone, enjoying his own company. Which may seem the opposite of comradeship although may, in fact, be one of the best aspects of a life. Since the human condition is loneliness, each man must overcome that battle to truly fit into himself comfortably. Inasmuch Doc has learned to be content like the boys of the Flophouse but in his own skin. He doesn’t need to be around anyone, but he much enjoys the company when it is offered to him. In this sense Doc appreciates the comradeship more from his experience of living by himself and being at peace.
The art of enjoying one’s self is expressed repeatedly in Cannery Row. The inclusion of all the partying and drinking in Steinbeck’s books is akin to that of Hemingway’s work inasmuch it can been seen that drinking is either related to having a great time or depression in life (Mullaney 44) . Steinbeck chooses the former consequence when he alludes to drinking being associated with the enjoyment of one’s company. In Cannery Row the characters often drink, but they do not drink themselves to the point of intoxication. Their good will towards preserving the human mind indicates that they still would like to be in complete contact with each other, and that their use of alcohol is to only take the edge off of things, not to black out the world in which their comradeship exists.
Throughout all of the partying, drinking, and comradeship deeply rooted friendships have formed on Cannery Row. Such an exhibition of good wills is more than what it is today. If the communities of now day were transformed into such passionate relationships as they were in the nineteen hundreds the world would be much better. Such a shame it is to lose the era of good feelings, whether or not the feelings were homosexual doesn’t entice a relevant opinion. Feelings towards others should be of acceptance and tolerance, a great expectation is then formed in anticipation of where the joys of friendship will take the next adventure in life.
29 October 2010
Comradeship: Friends or Deeply Rooted Feelings?
To have, to hold, to love, and to live whichever your fancy the comradeship in John Steinbeck’s Cannery Row is stemmed from the love of others. Many displays of affection are revealed through the relationships of Cannery Row. A few examples of these relationships would be of Doc to the boys along with the boys in and of themselves. Such an expression of friendliness would generally be considered great. Along with an expected commodity in a small town of the yesteryears, but it could be perceived that the boys of Cannery Row were homosexuals. Determining the relationships of the boys of the Palace Flophouse asks if their “sweetness of comradeship” comes from idealistic acquaintanceship or a deeper sense of belonging to one another (Person 7).
Steinbeck hints at his ideal relationships between the boys many times through out the story, a specific even of this is when the boys are frog hunting. The man’s house that they come to is vacant of a woman’s touch. The boys are much relieved of this aspect. They aren’t forced to use their manors, to wash, or to go to bed early (Person 8). Their ideals suggest that they might be better off without women. While they live on their own, without the hardships of supporting someone who seems less capable than themselves, they seem the most content. Comparing the modern businessman to the boys of the Palace Flophouse the boys appear to be much happier. They do not spend their days chasing after money, in fact, they spend their time avoiding work and enjoying each others company (Levant 171). The boys spend so much time together that they have developed a strong bond like a family or like lovers. This idea suggests at queer relations between them. The idea of gay relationships in the era of Steinbeck’s writing was taboo. Hence the non-direct mentions of the boys relationships. Their improper behaviors may suggest this sentiment.
The “bad boys” of Cannery Row can be found in society today (Lisca 154). The bums, the scum of the Earth, or leaches, call them what you will, these wretches are sometimes the happiest inhibits on this planet. They haven’t a care in the world, especially towards those trying to judge them. As for comradeship, they have each other. In the world of today, having a group of friends that can be counted upon stands for much more than a successful life. The Boys of the Palace Flophouse are certainly a happy go lucky bunch of men. Their happiness may go as far as to suggest relationships within the group of boys.
Homosexual or heterosexual relationships are not a conceived notion through out the book, but their sexual orientation could be either way. The boys don’t have too many women in their life, aside from the married man of the group escaping his wife. If they are having sexual relationships with one another, it would stand to reason. When a large group of friends stays together for an amounted period of time, certain bonds form between them. The bonds could be that of homosexual relationships or they could be that of brotherhood. Either way Steinbeck uses “alternative social relationships” to express equality and an extreme form of comradeship through out many relationships in his book (Person 10).
Another notable relationship in the book is Doc’s relationships. Doc exhibits an extreme caring, a compassion, for all the occupants of Cannery Row. The comradeship of Doc is readily seen in his surrounds. He has the perfect place to host parties, and he often does. Many people come to his parties showing that he is well liked. The phrase “we should do something nice for Doc” is repeated often in the book, especially from the Flophouse boys. Finally the boys throw a party to show their appreciation for Doc. In the process they unintentionally wreck his house. Doc is upset, but he knew the boys only had good intentions. In this manor the boys are forgiven, and Doc takes up his roll in their friendship again exuding the human’s compassion for those that are on good terms with one another. The happiness and good times continue later in the book, when the boys host Doc a birthday party that is well prepared for on Doc’s part (Mullaney 43). The sneaky preplanning, by Doc, results in a wealthy exchange of comradeship. The Doctor’s house remains in one piece showing that sometimes a little extra must be put in by one party to have a positive effect on the whole group.
Although Doc has more female friends than the boys from the Palace Flophouse, he lives mainly alone, enjoying his own company. Which may seem the opposite of comradeship although may, in fact, be one of the best aspects of a life. Since the human condition is loneliness, each man must overcome that battle to truly fit into himself comfortably. Inasmuch Doc has learned to be content like the boys of the Flophouse but in his own skin. He doesn’t need to be around anyone, but he much enjoys the company when it is offered to him. In this sense Doc appreciates the comradeship more from his experience of living by himself and being at peace.
The art of enjoying one’s self is expressed repeatedly in Cannery Row. The inclusion of all the partying and drinking in Steinbeck’s books is akin to that of Hemingway’s work inasmuch it can been seen that drinking is either related to having a great time or depression in life (Mullaney 44) . Steinbeck chooses the former consequence when he alludes to drinking being associated with the enjoyment of one’s company. In Cannery Row the characters often drink, but they do not drink themselves to the point of intoxication. Their good will towards preserving the human mind indicates that they still would like to be in complete contact with each other, and that their use of alcohol is to only take the edge off of things, not to black out the world in which their comradeship exists.
Throughout all of the partying, drinking, and comradeship deeply rooted friendships have formed on Cannery Row. Such an exhibition of good wills is more than what it is today. If the communities of now day were transformed into such passionate relationships as they were in the nineteen hundreds the world would be much better. Such a shame it is to lose the era of good feelings, whether or not the feelings were homosexual doesn’t entice a relevant opinion. Feelings towards others should be of acceptance and tolerance, a great expectation is then formed in anticipation of where the joys of friendship will take the next adventure in life.
Wednesday, September 29, 2010
Major Project 1 Photography Class
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I am finally in a photography and the cameras just started rolling. Our first assignment was on Line, Value, and Focus. I was focused too much on understanding focus, since I'd never used manual focus and had to set my camera on Auto(yuck) but I've learned a new skill which proves to be quite useful. I do feel quite stupid for not knowing to use manual focus, but at least I am learning in the class. Critique today: Used my directional lines photo with gamma adj. and cropping and received a 5. Only one other in the class was rated that high.
Thursday, September 16, 2010
Monday, September 13, 2010
Wednesday, September 8, 2010
And that was before I went to the hospital.
First time too, my parents just had to make it once before I officially lost my childhood. I remember everything, but as if it were a dream.
Almost passing out in the middle of Wal-Mart, being held up by strong hands and trying to regain consciousness on my feet. Only later did I know I wasn't right, laying beneath the stars in the playground while those played tag around me and then walking around to the slide and jumping off knowing I was going to get hurt more, hitting my tail bone. My friends noticed how different I was and then were to drive me home, while waiting at the gas station I wanted to smother myself with a plastic bag, for no reason. I was against myself, I kept almost crying when I always keep it under control. But this wasn't the fun part of the night at all.
My birthday gift came early. Many hair dyes and I got to use them in the bathroom of the house. My hair bleched already from the day before, from black, ready to accept the dye purple in the front light and dark orange in the back. My hair looked like ying-yang. I put one color in his and one in mine purple on his sides and oranges in the middle. My knee was finally healing up from doing a cartwheel down the core-door at school. His was brown so later we bleched it out and redyed it all orange. And the funniest thing was how my best friend who I hadn't seen in a few months or talked to much also had orange hair that had been cut the day before as had mine.
The way we moved was so fun.
The next day I was to take it easy after the cat scan. So I got tied up like a pig and manage to get out because of flexibility. Later I was truthed to be married which lead to such a series of questions. Leading to many days of talking and finally knowing that truth is the best except when is told to intentionally hurt the man so the less I say the more good you hear and I am the truth for knowing you. I love.
Saturday, September 4, 2010
(The Unfinished)
The man walking behind the track-hoe met me in an ally. I was terrified, a little kid with their semi-pro camera and nothing else meeting a full grown man with no one around. But he just asked if I was a photographer and I said yes, then asked if he wanted his picture taken. And he replied that he could not get it, meaning he was just drifting through. It stirred joy within me to find a homeless type person that meant no ill-intent. A pleasant meeting.
I had planned a photo shoot in the after noon to get some really nice details of the house; but I stopped by in the morning to check things out. This photo was taken from outside looking through what used to be a window. When I came back with my that afternoon the house was gone.
Progress is not so progressive.
Every day on my way home from Jr/Sr High School this house I would pass and merely marvel at the building complexities, how the little children on the bus would steal the leaves from the trees that proudly stood beside it and what the story was. It comes to be that my father knew the story.
The lady that lived here was offered one quarter of a million dollars so her house could be excavated and turned into a parking lot for a car company, she refused the offer sternly and continued to live on the busiest street corner.
But as every great story of standing up for one's self it must come to a tragic end eventually. This lady has either died or gone into assisted living and her house was demolished.
She was the sort of sweet old lady who would never let her windows not be curtained and kept everything spic and span, it seem a shame to push people into what they would least like to do.
I had planned a photo shoot in the after noon to get some really nice details of the house; but I stopped by in the morning to check things out. This photo was taken from outside looking through what used to be a window. When I came back with my that afternoon the house was gone.
Progress is not so progressive.
Every day on my way home from Jr/Sr High School this house I would pass and merely marvel at the building complexities, how the little children on the bus would steal the leaves from the trees that proudly stood beside it and what the story was. It comes to be that my father knew the story.
The lady that lived here was offered one quarter of a million dollars so her house could be excavated and turned into a parking lot for a car company, she refused the offer sternly and continued to live on the busiest street corner.
But as every great story of standing up for one's self it must come to a tragic end eventually. This lady has either died or gone into assisted living and her house was demolished.
She was the sort of sweet old lady who would never let her windows not be curtained and kept everything spic and span, it seem a shame to push people into what they would least like to do.
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